Price 25 Cents 






In the Trenches 
Over There 




PUBLISHED BY 

The* Dramatic Publishing Company 

CHARLES H SERGEL . PRESIDENT 



Practical Instructions for 
Private Theatricals 

ByW. D, EMERSON 
Author of "A Country Romance," "The Unknown Rival,' 1 
"Humble Pie," etc. 



Price, 25 cents 



He r e is a practical hand-book, describing in detail all tne 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings. 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Reflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Rain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades. 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

■?kapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



IN THE TRENCHES 
"OVER THERE" 



A PLAY WITHIN A PLAY 
IN ONE ACT 



BY 

RAGNA B. ESKIL 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



21 






CHARACTERS 



Sergeant Miller 

Corporal Wheeler 

Private O'Toole 

Private Malcolm = 

Private Johnson 

Private Baker 

George Sharpe, An Orderly 

Other Soldiers 

In the Interpolated Play 

Nurse Gray Stage Manager 

Patsy Burke . . . . . Who Sings 

Nurse Baird Mrs. Smith 

Corporal Field Jake 

Lieutenant Carson John Baltimore 

Nurse Zane Mary Baltimore 

Nurse Holsum Miss Keep 

Nurse Linder Miss Cairns 

Copyright, 191 8, by The Dramatic Publishing Company 

TIME : A February Afternoon. 
Plays forty minutes. 

SPECIAL PROPERTIES 

A well-fitted bomb-proof trench room or "dug-out" ; two 
tables ; a dozen or more camp chairs ; a musical instru- 
ment ; two hooks ; a coil of wire ; two blankets ; comfort 
bags ; suit-case ; a bag filled with "smokes" and cigarettes ; 
a towel ; a telegram. 

2 
©CI.D 49450 

MAY -21918 



IN THE TRENCHES "OVER THERE" 

Scene: A bomb-proof trench room that is one of a 
solidly-built and well- furnished trench tier captured from 
the Germans. The walls are boarded up, and several 
rugs are spread across the floor. The entrance door is at 
the extreme upper right, and a passage connecting with 
another trench is at the extreme upper left. An electric 
light hangs from a rafter in the ceiling. The walls are 
decorated with two American flags, crossed, a small mir- 
ror with a shelf under it on which are a comb and clothes 
brush, and with colored magazine covers. A clothes rack 
with khaki coats, overcoats, sweaters and hats is on the 
rear wall. Two hooks to be used later to stretch the cur- 
tain on are in the left wall and the left rear wall. Two cots 
with blanket covers are set against the rear wall, and four 
bunks in two tiers are strapped to the wall above them. 
There is a table at the left and a table in the center of the 
room. A charcoal brazier stands toward the left front. 
There are a dozen or more camp chairs around, those not 
occupied are folded against the right wall. A trench tele- 
phone hangs near the right door, and a coil of wire for 
stretching the curtains is near it. 

At the rise of the curtain, Sergeant Miller, Corporal 
Wheeler, and Privates O'Toole and Johnson are playing 
rummy at the center table. Private Baker is writing a let- 
ter at the other table; his comfort kit lies at one side. Pri- 
vate Malcolm is sitting on the right hand cot, playing an 
Hawaiian air on a ukulele e {or other instrument.) After 
a moment, he changes the air to "Suwanee River," and 
starts to sing : 

"All dis world am sad and dreary, 
Ebrywhere I roam, 

Oh, darkies, how my heart grows weary, 
Far from de old folks at home." 



4 IN THE TRENCHES "OVER THERE" 

Baker. [Over his shoulder, gruffly.'] Cut it out! 

Johnson. [To Baker.] What's the matter, kid? 
Writing home? 

Miller. [To Malcolm.] Liven her up, old boy, and 
soft pedal the home stuff ! 

Malcolm. [Throwing down his instrument and ris- 
ing.] Oh, thunderation, you're the most talkative, cheer- 
ful bunch one could get into ! 

O'Toole. Thanks for the compliment. We didn't 
know we desarved it. 

Wheeler. [Laying down his cards.] I win again. 
Whose deal ? 

Miller. [Getting up and stretching himself.] Oh, 
hang it, I don't want to play cards any more. Can't some- 
one think of something more exciting? 

O'Toole. [To Miller.] Try bumping your head 
against the wall and see if it will rattle. [Plaintively.] 
But, say, hasn't anyone got a cigarette? 

Miller. That's the fifty-seventh time you've asked 
that question today? 

Johnson. Gee, if we could only stay on top where 
something was doing. Forty feet under ground may be 
safe, but it doesn't suit me. 

O'Toole. Me, neither. Oh, only for a snipe at the 
Huns! 

Wheeler. Ah, quit your complaining, and tell me 
how much longer do you suppose they'll keep us here ? 

Miller. [To Wheeler.] No, you don't complain, 
not you ! Well, they can't let us out any too soon for 
me. This bomb-proof seemed pretty soft after being 
shelled for two weeks, but this doing nothing except look 
out for mines is getting on my nerves. 

Malcolm. If we could only get something to eat ! 

Miller. Eat! Don't we get the best grub in any 
army ? 

Malcolm. Oh, you needn't start preaching. I meant 
something sweet to eat. [Dreamily.] Say, boys, did you 
ever go to a candy pull in the country ? 



IN THE TRENCHES "OVER THERE" 5 

Johnson. [Savagely.] Quit it! 

Malcolm. [Ignoring him J] Or dream that you had 
all the cigarettes you could smoke ? 

O'Toole. Say, when do you suppose the Red Cross 
shipment will come to us. 

Wheeler. It's been due for two weeks. Gee, if a 
sub got that ! 

Malcolm. [Gaily. ~\ You'll go without cigarettes and 
sweet stuff for another two weeks. 

[All groan and zvalk about restively.] 

Miller. [To Malcolm.] Say, play something lively ! 

Malcolm. [Grandiosely.] If I had an audience that 
was properly attuned to my artistic sensibilities, I would, 
but — [He shrugs his shoulders.'] 

O'Toole. [Smiling.] You mean you'd like a bunch 
of jack-asses, Malcolm? 

Malcolm. [Elaborately.] I don't long for what I 
already have, thank you. 

Baker. [Still writing.] Oh, shut up. How can a 
fellow think with this noise? 

O'Toole. [To Baker.] Well, only fools need to hear 
themselves think. 

Johnson. My, aren't we one sweet-tempered crowd! 

Baker. [Turning around.] Say, what date is it? 

Miller. Hanged if I know ! 

Johnson. [Guessing.] The seventeenth, isn't it? 
[The others shake their heads in doubt.] 

Baker. Well, that's near enough. But say, what's the 
month ? 

Wheeler. [Promptly.] It's April. 

Malcolm. Go on — April, your grandfather! Do you 
know it's below zero, up-stairs ! It's February, I tell you. 

Wheeler. I always thought February was a short 
month, and gee, we came down here the first of Febru- 
ary and we've been here a year already. 

Baker. Well, I'll put February, then, but, say, is it 
nineteen-seventeen or nineteen-eighteen. 

Miller. . Gee, Baker, how do you suppose we're going 



6 IN THE TRENCHES "OVER THERE" 

to remember when we lost our calendar ? You don't need 

to put the year down — they can see it on the post-mark. 

[Baker seals his letter and puts it in his pocket.] 

Malcolm. [Yawning.] If only the Huns would try 
to mine this place, or something would happen ! [A knock 
is heard.] My prayer is answered ! 

Miller. Come in ! 

[Simultaneously with his "come in," the door bursts 
open, and George Sharpe enters. He is evidently on good 
terms with Sergeant Miller.] 

Miller. Why, hello, George ! What's this — a mes- 
sage, or just a friendly visit? 

George. [Going over to charcoal stove.] Well, it's 
both. I want to get warm, if I may, and then, I've got a 
message, too. 

Malcolm. [Joyfully.] Do you mean to say we're 
going to move ? 

[The others crowd around eagerly for his anszver.] 

George. No, this isn't anything official, but it's almost 
as good. 

O'Toole. [Excitedly.] Have those cigarettes and 
candy come yet ? 

George. No, it's something better ! 

Malcolm. What can it be — something better than 
going to the front, or getting cigarettes and sweet stuff ! 
[He slaps George on the shoulders.] Out with it, boy ! 

George. Well, if you give me time to talk, I'd told 
you long ago. 

Baker. Cut out the preliminaries and tell us ! 

George. Well, then, the nurses' theatrical company is 
coming to perform before you ! 

Miller. Really ! 

Baker. Nurses' theatrical company ! What's that ? 

Malcolm. [In derision.] Say, you sleepy bonehead, 
don't you know that the nurses over at the hospital, now 
that they aren't so busy, have formed a little theatrical 
company and are coming around to entertain such fat- 



IN THE TRENCHES "OVER THERE" 7 

heads as you, so you won't go mad with the exciting life 
there is in these bomb-proofs. 

Baker. [His face lighting up.] You mean real 
women nurses ! 

George. [Enjoying the sensation he is making.] Yes, 
real women nurses, and one of them, Miss Gray, used to 
be in a real theatrical company — direct it or something like 
that— 

Miller. You don't say! But when are they coming? 

George. Today — in a few minutes. In fact, they 
ought to be here any second now. 

Johnson. Women in this place — real women in this 
place ! 

Miller. [Taking hold of George by the collar.] Say, 
George, you're not fooling now? If you are, I'll throw 
you forty feet up-stairs and let you taste the sleet on your 
nice bare neck — 

George. [Indignantly.] I'm not fooling, I tell you, 
and instead of asking me questions, you'd better get busy 
fixing up this place for them. Those cots over there look 
nice, and [To Miller.] — a comb wouldn't hurt your hair. 

[All except George immediately scramble to put the 
room in apple-pie order, and to primp themselves — comb- 
ing their hair, brushing dozen their clothes and putting on 
their coats.] 

O'Toole. [Before the mirror.] Sure, and it's so long 
since I've seen a lady, I won't know how to act. Johnson, 
how do I look ? 

Johnson. Ask the ladies for compliments, Irish, not 
me. 

Malcolm. [In high good humor.] Gee, Irish thinks 
he's going to make a hit, but I bet the ladies have more 
taste than that. 

O'Toole. [Good-naturedly.] Sure, and you think 
they're elevated to your style, you Beau Brummel, do you? 

George. [Who has been looking on with a superior air 
at the preparations.] Say, we took another trench from 
the Huns this morning. 



8 IN THE TRENCHES "OVER THERE" 

Miller. [Abstractedly.] Well, that's one more step 
towards Berlin. [With concern.] Say, George, is this 
part in my hair straight ? Malcolm's hogging the "see how- 
nice I look glass," so I can't get near it. 

George. Well, if the part in your hair is more impor- 
tant than taking a trench, I'll say it's — still crooked. 

[Miller continues his efforts to get the part straight.] 

Malcolm. [To George.] Did you say we took the 
trench, George ? No, George, we did not take the trench. 
We are buried forty feet under ground. [He examines 
his coat critically, and then puts it on a little dubiously.] 
Say, Irish, does the wrinkle in the back of this coat show ? 

O'Toole. [Loftily.] If you knew how to act before 
ladies, you wouldn't turn your back to them. 

Wheeler. [Nervously.] How many ladies are there, 
George ? 

George. [Promptly.] Six, and they're all good- 
lookers, too. 

Baker. [Starting up.] Say, we're a nice bunch! 
Why aren't we up there to conduct them down ? 

Miller. [Disgusted with his neglect.] Gee, we are a 
fine bunch, all right. [He starts for the door.] I'll go. 

The others. Here, let me go. I'll go ! 

[All except George rush pell mell for the door.] 

George. Here, hold your horses ! They don't want 
you ! They've got some men in their company, too. 

Malcolm. [Disgruntled, as they all go back.] Men! 
What have they men for ? Aren't we men enough ? 

George. [Derisively.] Don't you suppose they need 
men in a play, too? 

O'Toole. [Sighs.] Yes, I suppose they do, but it's 
the ladies we want to see. [He siglis again.] it's three 
months now since I've had sight of the sparkle of a pretty 
eye, and the bloom of a rosy cheek, and the lilt of a soft, 
rippling laugh — 

Miller. [Groans.] Heavens, if he's as mushy as 
this before they come, what'll he be like after they get 
here ! 



IN THE TRENCHES "OVER THERE" 9 

Baker. [Contemplatively.] We could put a gas mask 
on him — 

George. Oh, yes, and I forgot. They said you were 
to get hold of as many fellows as can get in this place — 

[A knock is heard at the door.~\ 

All. That must be them ! 

[Miller strides forward to open the door. O'Toole 
and Malcolm run to get a last glance at themselves in the 
mirror. 

Nurses Gray, Patsy Burke, Baird, Holsum, Linder 
and Zane come in, followed by Lieutenant Carson and 
Corporal Field. The men in the room salute the lieu- 
tenant and bozv to the ladies. All the newcomers wear 
heavy wraps and carry bags and small suitcases.] 

Miss Gray. [Exclaims.] My, it seems nice and warm 
here. 

Carson. [To George.] You told them we were com- 
ing? 

George. Yes, sir. 

Carson. Then shall we consider ourselves introduced ? 
We can't stop for much formality, as there may be a train- 
load of wounded this afternoon, and we must be sure to 
be back in time. But we thought you men who had been 
down here so long, might like to see our little play — 

Miller. We certainly appreciate it, sir — and ladies. 

Miss Gray. [With a smile.] Then, shall we be get- 
ting ready ? But, first, perhaps we had better take off our 
wraps. 

Miller and other hosts. [In contrition.] Oh, par- 
don us. [They assist the nurses in getting off their wraps. 
Miss Burke holds on to her little bag.] 

Miss Burke. [Holding out her bag, which she has 
opened.] And here is a special present of some chocolate 
and smokes. Do you care for any ? 

All the Hosts. Do we ! 

O'Toole. [Helping himself.] And saving your bright 
eyes, this is the best present we could have had. 

Miss Burke. You're Irish, aren't you ? 



10 IN THE TRENCHES "OVER THERE" 

Malcolm. [Laughing.] Murder will out, Irish. 

Carson. But couldn't we have more men here? I 
think the room will still hold more. 

Miss Gray. Oh, yes, the more the merrier. 

Miller. I was just going to telephone when you came. 
I'll get the boys from next to us. [He goes to the tele- 
phone and rings twice.'] Say, you fellows in the "Palace." 
A play will now be held in the "Grotto." You are cor- 
dially invited to be present. Admission to those only 
whose hair is combed as there are LADY ACTRESSES 
. . . Yes, I said LADIES . . . Capital L-a-d-i-e-s, 
and if they act as well as they look, it will be 
some play, believe me. . . . Yes, it's here and right 
now. Performance is about to begin. Hurry and 
get a move on yourselves. [He turns to the nurses.] 
There, was that right? [The nurses smile and nod their 
heads.] They wouldn't believe it when I said ladies were 
here. 

George. Neither would you when I told you. [In an 
aggrieved tone to the nurses.] Why, he even said he'd 
throw me forty feet up — 

Carson. Say, boys, we'll have to use your furniture 
for our little act. 

Miller. Oh, certainly, take anything we've got. 

Miss Gray. May we use the blankets off your cots 
for curtains, and this wire over here will do to stretch it 
on, and could we have the safety pins from your comfort 
kits to pin it over with — 

Carson. [Indicating upper right corner.] And that 
corner will do for our stage. 

Malcolm. [Hunting with his hand for the hooks in 
the wall.] And here are two hooks that will be just about 
right to stretch it between — 

Miss Gray. Why, just the thing. [Pointing to the 
upper right door.] Could we use that door for our stage 
entrances? Where does it lead to? 

Miller. Certainly you may use it. It goes to our 
ammunition store room. 



IN THE TRENCHES "OVER THERE" H 

Miss Burke. Then our play ought to be a sure fire 
success. 

O'Toole. [Admiringly.'] Who's Irish now? 

Carson. We'll need both these tables and four chairs 
and the suitcases. 

[The men push the tables and the chairs and the suit- 
cases in the corner intended for the stage and get down/ 
their comfort kits, and everyone helps get the blankets 
ready for the wire. While they are so engaged, the men 
from "The Palace" bomb-proof come in, with an announc- 
ing knock at the door, and try not to show their surprise at 
really seeing the ladies.'] 

Malcolm. [Teasingly.] Oh, yes, they're real flesh 
and blood. 

O'Toole. [Indicating Miss Burke.] If you pinched 
this one, I'm sure she'd scream. 

Miss Burke. [Smiling.] I certainly would. 

Miller. [With a grand bozv.] Ladies, these are the 
gentlemen from the "Palace," so named because it has 
a piece of Brussels rug placed in the midst of its floor. 
[He bozvs again.] Gentlemen of the Palace, these are 
Ladies from across the Water, and more than that, they 
comprise the greatest aggregation of actresses the world — 
or we — have ever seen. 

O'Toole. [Pretending great admiration.] My, our 
sergeant can do the grand talk, can't he ? 

Miss Gray. [Laughing.] He certainly can, but I see 
our curtain is up now and the actors must retire. 

[The actors, except Miss Gray, go behind the scenes. 
George mixes with the nezveomers and tells than how this 
all happened. The "Grotto" soldiers help straighten 
things in the room, and also talk to the newcoiners.] 

Corporal Field. [Sticking his head out from betzveen 
the curtains, and looking around the room.] There isn't 
anything here we can use for a desk, is there? No, I 
guess not. We'll have to improvise chairs. Just hand me 
four of them, will you? [He receives the chairs and dis- 
appears.] 



12 IN THE TRENCHES "OVER THERE" 

O'Toole. [To Miss Gray.] What kind of a play is 
this going to be? 

Miss Gray. [Brightly.'] A comedy — and no war talk. 

Miller. [Appreciatively.] That's good — not that we 
would have said anything if you had given us the gloomiest 
kind of a tragedy, but we like to have a chance to laugh — 

Miss Gray. [Quickly.] Don't I know it. And we 
like to forget, too. [SJie addresses every one.] Perhaps 
you think I am going to be a little "bossy" now, but you 
see I am the stage manager. As the action of our play 
requires a little more space than we have curtained off, 
we will have to go back to the days of Shakespeare, and 
regard the curtained part as the inner stage, and the rest 
of the room as the apron or outer stage, and you gentle- 
men will be the nobles who are allowed to sit upon the 
stage. But please, please remember we are only amateurs, 
and don't make such disparaging remarks as they did in 
the days of Bill Shakespeare, when they didn't like the 
way things went. Now, will some of you sit here to the 
right, [Several of the men take chairs and seat themselves 
at the extreme right, between the curtain and the foot- 
lights.] and will the rest of you take seats on the cots and 
those chairs along the left wall, — and then that will give 
us the diagonal center of the room clear. [With alacrity, 
the men do as bidden, some sitting on the camp chairs and 
cots, and some on the floor. Two or more may remain 
standing. Brightly.] Now that the stage is ready, I will 
announce the acts. I will be the banker, or the speaking 
program, or whatever you will. [She pauses a moment, 
and then in a comical imitation of a circus barker.] 

Gentlemen and Soldiers of the Glorious Country across 
the Sea ! We shall present to you this afternoon the won- 
derful and mirth-provoking comedy, entitled "Between 
Trains." But since the actors and actresses have not had 
time yet to get all their powder and paint on, and in lieu 
of an orchestra overture, we will present an act previous 
to the first act. This will be a singing number by Miss 
Patsy Burke. [The soldiers applaud.] I noticed a uku- 



IN THE TRENCHES "OVER THERE" 13 

lele when I came in. Can someone play the "Wild Irish 
Rose" on that ? 

Malcolm. [Steps forward quickly.'] I can. [He 
takes up the ukulele, and pushes his chair forward and 
seats himself near the open space on the right. One of 
the soldiers on the left gives his chair to Miss Gray and 
seats himself on the floor. The curtains part and Patsy 
Burke steps from between them and sings. Note. — She 
may appear either in nurse's uniform or in fancy costume. 
The soldiers applaud her when she appears and ivhen she 
has finished.] 

[Note. — Another specialty number may be introduced 
now if desired, Miss Gray saying, "Now the second num- 
ber that precedes our first number is — "] 

Miss Gray. [After peeping behind the curtain.] 
They're ready now. [She clears her throat in old school 
style.] "Between Trains" is now about to begin. You 
have no programs, but I tjelieve the play will explain 
itself. The scene is laid in a small railroad junction din- 
ing room — a great deal of which is necessarily left to your 
imaginations. [The soldiers smile.] And in the absence 
of professional stage hands, will you men nearest the 
curtains pull them back, please ? 

[The men push back the curtains, and the soldiers Icaji 
forzvard expectantly to see the stage so revealed. Two of 
the camp chairs are placed alongside of each other with 
the two others on top, to simulate a counter desk. This 
is placed diagonally across the door, just leaving space 
for the actors to pass back and forth. The two tables 
with tzvo chairs at each stand in front of the desk. Miss 
Baird made up as the restaurant manager, Mrs. Smith 
is standing back of the counter. Mrs. Smith is about 
fifty years old and rather stout, with her hair in a tight 
knot. She wears a gingham dress and white apron. 
Corporal Field, made up as a country waiter, Jake, is 
flipping off the tables with a towel.] 

Jake. I wish those trains would hurry up and come in. 



14 IN THE TRENCHES "OVER THERE" 

The four o'clock ain't here yet, and the six-ten's behind 
time. 

Mrs. Smith. Yes, it seems funny, and I got such a 
funny f eelin' today, too. I reckon somethin' must be goin' 
to happen. I laid awake most of the night for no reason 
whatsoever, and my eyes they itch, and my nose it itches, 
and my ears they feel wiggly, and I told Samanthy Jane 
this mornin' I just knozv somethin's goin' to happen. 

Jake. [His jaw dropping.'] You don't suppose them 
robbers is coming to rob you the way they done the pro- 
prietress in Center Junction yesterday, do you ? 

Mrs. ^mith. Land 'a mercy, I hope not. And I got 
sixty-nine cents in the cash drawer, too. [She pretends 
to look in the cash drawer in the desk.] That is, I got 
sixty-nine cents, if Sam Hopkins over to the store will 
give me twenty-five cents for this Canadian quarter, and 
if he don't think this dime ain't wore too thin. Mercy 
me, what shall I do ? 

Jake. [In great distress.] Couldn't you hide it ? 

Mrs. Smith. But where? They tear open the mat- 
tresses, and nothin' ain't safe from them nowhere. 

Jake. [Diffidently.] I notus ladies from the city 
hide their money on themselves — in their stockin's, I guess 
it 'tis. 

Mrs. Smith. [Sharply.'] How do you know? 

Jake. [Innocently.] I seed them — many times. 

Mrs. Smith. You did, did you, hey? And then you 
told Si Brown you was rushed to death with the work 
here. Well, just ask me for the five cents a day raise, and 
I'll see you earn it first. [Snorts.] Lookin' at city ladies. 
But what'll I do with my money? Them robbers was a 
lady, too, wasn't she ? Dressed real swell, too, wasn't she ? 

Jake. Yep, them robbers was a lady and a man — one 
of them gent guys what pushes a chair under a lady when 
she sets down, and takes of! his lid every time he looks 
at her. And they come to Center Junction on this same 
four o'clock express what ain't here yet. 

Mrs. Smith. [With a heavy sigh.] Well, I just Know 



IN THE TRENCHES "OVER THERE" 15 

something goin' to happen. My ears ain't never tweaked 
less somethin' does. 

Jake. And I heerd they offered a re-ward for the 
capture of them robbers, too. 

Mrs. Smith. You don't say! How much? 

Jake. [In awe-struck tone.] Five dollars ! 

Mrs. Smith. Five dollars! Land a' mercy, ain't some 
folks got money ! Say, wouldn't it be excitin' if me and 
you could ketch 'em — 

Jake. [Weighing the matter.'] It would if we could, 
but they might get your sixty-nine cents. 

Mrs. Smith. Dearie me, if only I had some place what 
was real safe, — I'd go out and hunt for them robbers. 
[She pretends to be looking for a safe place behind the 
counter, when a thought suddenly occurs to her. Briskly.] 
Jake, you face frontwards and dust the rim of that table. 

Jake. [Dusting the edge of the table.] I don't need 
to face frontwards for that. 

Mrs. -Smith. [Stamping her foot.] Jake, I said face 
frontwards and see that spot on the wall. 

Jake. [Shamblingly facing forward, and looking with 
vacant gaze at the pretended zvall.] Well, of all queer 
notions — 

[Mrs. Smith turns her back to the audience, and watch- 
ing to see that Jake does not see her, quickly pretends to 
stick the money in her stocking. She straightens up at 
the same moment Jake turns around.] 

Jake. I don't see no spot there 'cept the one what's 
been there for twenty-five years, and that ain't new. 

Mrs. Smith. [Pleased with her strategy.] I was 
just wantin' you to be observing Jake. If you're goin' to 
be a detectuv, you might as well learn how. 

Jake. [Getting excited.] Wouldn't it be just whoopin' 
if you and me could ketch them thieves, Mis' Smith ? 

Mrs. Smith. [Correcting him.] Me and you, Jake. 

Jake. But you ain't got that money hid yet, Mis' 
Smith. 

Mrs. Smith. I has. 



16 IN THE TRENCHES "OVER THERE" 

Jake. You has ! I didn't see you put it nowhere. 

Mrs. Smith. [Triumphantly.] No, I guess you 
didn't. 

Jake. [Persisting.] But where did you put it? 

Mrs. Smith. That ain't none of your business, Jake. 

Jake. Well, if only that train would come — 

[Carson off the stage, of course, calls loudly, Toot-toot ! 
Toot-Toot !] 

Jake. Oh, there she be ! That's the four o'clock — 
I can tell her by her whistle. 

Mrs. Smith. Land a'sakes, I'm gettin' excited. Sup- 
posin' the robbers should be on this ! 

[Carson calls in a weaker tone, Toot-a-toot-toot ! 
Toot-a-toot-toot !] 

Jake. [Hopping about excitedly.] There's the six 
o'clock's whistle. She's down by the spur. Two trains to 
onct ! 

Mrs. Smith. Mercy me, somethin's goin' to happen. 

[Carson says, Klang-klang, k-1-a-n-g-K-l-a-n-g.] 

Jake. There's the four o'clock stopping. 

Mrs. Smith. [Clutching Jake by the arm.] Now 
remember, look out for a swell lady and a gent. 

[The door bursts open, and Carson as John Baltmore, 
and Miss Zane as Mary, his bride, come in. John is 
dressed in a neat traveling suit, and Mary wears a 
"bridey" coat and hat. John escorts Mary to the table at 
the right, and seats her very politely. Jake and Mrs. 
Smith exchange meaning glances. 

John. [To Mary.] This isn't exactly a honey-moon 
eating place, dear, but anyway it seems clean. [He seats 
himself and pretends to take up the bill of fare and read 
it. To Jake, who- has stealthily tip-toed near.] Bring 
up some fried spring chicken, and please be quick about it. 
Our train leaves in fifteen minutes. [To Mary.] You 
like fried spring chicken, love, don't you ? 

Jake. [Stolidly.'] The fried spring chicken ain't 
ketched yet. 

John. But then, why is it on the bill-of-fare? 



IN THE TRENCHES "OVER THERE" 17 

Mrs. Smith. [Coming from behind the desk. In 
crisp tones.] Because all first-class eatin' joints has fried 
spring chicken on the bill-o-'-fare. 

John. Ah, I see ; and this is a first-class eating joint — 
[Mary giggles.] 

Mrs. Smith. Well? 

John. Well, some of this pork tenderloin, then. 

Mrs. Smith. We ain't got that, neither, and no one 
ain't never asked for it before, besides. 

Mary. Dearest, ask them what they have. 

Jake. [Before John can open his mouth. In sing- 
song tone.] Pork and beans — hash — spuds — apple pie — 
coffee — and doughnuts. 

John. [Pretending to throw down the card.] Well, 
then, that's what we will have, and bring it in immediately, 
please. 

Jake. Yes — sure — 

Mrs. Smith. [Elbowing Jake out of the way, who 
gapes at her in astonishment.] It will take ten minutes 
to serve it. 

John. But our train leaves in fifteen minutes. 

Mrs. Smith. [Stiffly.] We don't hurry for nobody. 

Mary. [To John.] Well, if we have to wait, let's go 
out on the platform. It's so stuffy in here. 

John. Yes, let's. [They go out.] 

Jake. [In sibilant whisper.] It's them all right ! Did 
you see the way he fixed her chair, and how perlite he 
was? 

Mrs. Smith. Yes, it's them, all right. But, you fool, 
why did you say they could get their beans right away? 
Now, you see, I got them out of the place, and you can 
run for Constable Perkins — 

Jake. He ain't home. He's gone fishin' — 
' Mrs. Smith. Just like him — ain't around when the 
biggest oppertunity this village has ever seen is walking 
on the platform. 

Miss Holsum. [Out in hall.] Klang-klang— klang. 

Jake. There's the six o'clock coming. 



18 IN THE TRENCHES "OVER THERE" 

Mrs. Smith. Well, we don't care nothin' about that — 
we as good as got the robbers now. 

Jake. No, we ain't got them. They're at large — out- 
side. [A fearful thought strikes him] Oh, Mis' Smith, 
suppose they sneak off on this train. 

Mrs. Smith. Oh, maybe they got serspicious of me. 
Oh, run, Jake, quick and see. 

Jake. [Runs and pokes his head out of the door. 
Excitedly.] No, they be there yet — they be holding 
hands. 

Mrs. Smith. Concocteringtsome scheme, I bet. 

Jake. Oh, and here comes one lady — no two ladies, 
cause there's one back of her, from the six o'clock. 
They're heading this way. 

Mrs. Smith. [Fearfully.] Was there more than one 
lady in the hold-up? Maybe, they be what's that word — 
accomplishments ? 

Jake. Sh — - 

Mrs. Smith. Well, we got to shoo them out, too, 
because we can't have them messing up the place, when 
we're ketching robbers. 

Jake. [Withdrawing his head from the door.] Sh — 
here's the first one. 

[Miss Holsum comes in. She is very pretty and 
dressed in a becoming suit and hat. She is Miss Keep, 
a beginning newspaper woman. Mrs. Smith regards her 
suspiciously, while Jake is rapidly succumbing to admira- 
tion for her.] 

Miss Keep. [Seating herself at the left table. To 
Jake.] A cup of coffee, please, and a doughnut. 

[Jake is about to go out when Mrs. Smith intercepts 
him.] 

Mrs. Smith. We ain't servin' nothin', Miss, today. 

Miss Keep. [Disappointed.] Oh. [In charming 
manner, to Mrs. Smith.] Did a young man and a pretty 
girl come in on the train just ahead of this? I looked 
for them, and couldn't see them. 



IN THE TRENCHES "OVER THERE" 19 

[Jake is about to answer "Yes," but Mrs. Smith shakes 
her head at him warningly.] 

Mrs. Smith. [Her arms akimbo.] What for do you 
want them? 

Miss Keep. Why, er — 

[The door bursts open and Miss Linder conies in, 
aggressively. Her tailored suit is on rather severe lines. 
She is Miss Cairns, a detective.'] 

Miss Cairns. [In crisp, business-like tones.] Did a 
well-dressed man and young lady come in on this first 
train ? 

Miss Keep. [Brightly.] Why, I've just been inquir- 
ing for them, too. 

Miss Cairns. What are you after them for? 

Miss Keep. Why, I represent the Daily Nezvs. 

Miss Cairns. Oh, you are one of those newspaper 
detectives. Well, I came on this job first. 

Miss Keep. [Rising.'] But I beg your pardon, I was 
in here first. Wasn't I ? [She appeals to Jake.] 

[Jake nods his head vigorously, but Mrs. Smith stops 
him by taking hold of J lis hair.] 

Miss Cairns. That doesn't make any difference. You 
newspaper people are always butting into our work. 

Miss Keep. What do you do? 

Miss Cairns. I'm from the Soft-Foot Detective 
Agency. [Decisively.] I don't want to be mean about 
this, but I have to make good on this case, so I wish you 
would keep out of it. 

Miss Keep. But I have to make good on this case, too. 
[Almost in tears.] The editor told me if I didn't find out 
about this, I'd lose my job. 

Jake. There, now, Miss, don't cry. I'll help you get 
them. . 

Mrs. Smith. Jake. 

Miss Keep. They're friends of mine, too. 

Jake. [Aghast.] Friends of yours? 

Mrs. Smith. [With an expressive glance at Jake as 



20 IN THE TRENCHES "OVER THERE" 

much as to say, ''Didn't I know it?"] Yes, friends of 
yours. 

Miss Cairns. [With contempt.] And you admit it! 
[She tarns her back on her. To Mrs. Smith.] You 
haven't answered my question yet. Have those people 
been in here? 

Mrs. Smith. You'll have to find that out yourself, 
Madam. 

Miss Cairns. Very well, then, I'll go out and look 
around again. [She turns for the door.] 

Mrs. Smith. [Thinking quickly, while Jake gasps at 
her.] Say, come to think of it, they was in here just a 
minute ago, and they went out. I'll see if I can see 'em. 
[She runs ahead to the door, and blocks Miss Cairns' 
passage, while she bobs her head in both directions. 
Excitedly.] Oh, there they be — up at the south end — 
they be just goin' off the platform — You'll have to run to 
ketch them — 

Miss Cairns. [Shrilly.] Let me by ! [She wedges 
past Mrs. Smith through the door.] 

Miss Keep. Oh, let me go, too. [She also runs 
through the door. Jake runs for the door, too, but is 
shoved back by Mrs. Smith, zvho closes the door.] 

Mrs. Smith. No, you don't go, Jake. You help me! 

Jake. But the five dollars' reward ! You going to let 
that bossy woman get it ! 

Mrs. Smith. [In good humor with herself.] And 
you want to help the pretty one get it? No, Jake, I'm 
goin' to get it! 

Jake. [In disgust.] How you going to get it, when 
you let that woman get the start ? 

Mrs. Smith. [Tolerantly.] Jake, you must think I'm 
some fool. [Triumphantly.] I sent them detectuvs to 
the south end of the platform, and the robbers is down 
to the north end ! 

Jake. [Admiringly.] Well, I take it all back, Mis' 
Smith ! 

Mrs. Smith. [Shrewdly.] Still, I better be lookin' 



IN THE TRENCHES "OVER THERE" 21 

where they be. [She opens the door and peeps out. In 
excited whisper.] The robbers be headen' this way — and 
I can't see the detectuvs — 

Jake. [Hoarsely.] What shall we do? 

Mrs. Smith. We got to ketch 'em quick. [She thinks 
rapidly.] I know ! They'll come in and set down at the 
table. They'll pretend to anyways before they try to rob 
us. Then you get behind the gent, and I'll get behind the 
lady, and then we'll grab 'em both at the same time. 

Jake. The man's bigger'n me — 

Mrs. Smith. [Derisively.] 'Fraidcat! 

Jake. I ain't — but he's likely got a gun — 

Mrs. Smith. [Snorts.] Well, what's a bullet shot 
alongside of five dollars ! 

Jake. [Grumbling.] Yes, but I don't get five dollars 
for getting shot. I only get half of five dollars. 

Mrs. Smith. And you can be glad you get it — if you 
do. Ain't I the one what's usin' the brains? I think 
I ought to have more'n half. 

Jake. Yes, but I'm the one what's getting shot ! 

Mrs. Smith. Shut up, you ain't shot yet. [A noise 
is heard outside the door.] Sh — now, remember, you 
take the man, gun or no gun ! 

[The door opens and John and Mary come in, laughing 
and evidently very happy. Mrs. Smith and Jake keep 
stealthily after them.] 

Jake. [In whisper to Mrs. Smith.] They don't look 
like robbers ! 

Mrs. Smith. [Knowingly.] That's to throw us off 
the track ! 

[John and Mary seat themselves at the table, still very 
much engrossed with each other. Mrs. Smith tip-toes 
behind Mary, and Jake timorously stands back a safe dis- 
tance from John.] 

John. [Taking his eyes off Mary and seeing Mrs. 
Smith.] Are our things ready? 

Mrs. Smith. [Ominously.] They'll be in a second. 



22 IN THE TRENCHES "OVER THERE" 

Mary. [Mildly.] Why the ten minutes must be up, 
and you promised to have it ready for us — 

Mrs. Smith. [Significantly.'] Oh, you'll have lots of 
time. 

John. [Looking at his watch, with a little irritation.] 
Nonsense, we have only five minutes. Serve us, imme- 
diately, please ! 

[The door bursts open and Miss Cairns comes in at a 
run, panting for breath.] 

Miss Cairns. Oh, there they are ! 

Mrs. Smith. [To Jake. Squeals.] Now's the time ! 
Catch him, Jake! [She pins Mary's arms down to her 
side, and Jake, not daring not to obey her, folds his arms 
in a vise-like grip around John. For a second, both Mary 
and John are too astonished to protest.] 

Miss Cairns. That's right ! Hold them for me ! [She 
runs back and forth.] 

John. [Struggling with Jake.] What does this 
mean ? Here, let me go ! [To Mrs. Smith.] Let go my 
wife, there ! 

Mary. Oh, John, help me! 

Mrs. Smith. [Who is not having much difficulty with 
Mary's struggles. Indignantly, to Miss Cairns.] Hold 
'em for you ! You got your nerve. We're holdin' 'em 
for ourselves ! 

Miss Cairns. What do you want them for ? 

John. [Struggling more vigorously with Jake.] 
That's what I'd like to know ! 

Mrs. Smith. [Belligerently.] For the reward, the 
same as you! For the five dollars ! 

John. [Angry, yet desiring to laugh.] Heavens, is 
that all ! 

Mary. [Indignantly — the others pay no attention to 
her.] Is that all father thinks we're worth ! 

Miss Cairns. [Almost screams.] Five dollars! 
The reward is Five Hundred Dollars! 

Mrs. Smith and Jake. [Gasp simultaneously.] 
FIVE HUNDRED DOLLARS! [In their astonish- 



IN THE TRENCHES "OVER THERE" 23 

ment, they both let go of their captives, and Mary flies 
to John, who closes her tightly in his arms.] 

Miss Cairns. [Screams.] Oh, don't let them go ! 

Mary. [Smiling to John.] I knew father wouldn't 
offer only five dollars. 

Miss Cairns. [Snorts.] Father wouldn't! That's 
a new one to put over — 

John. [Taking the matter as a joke, but still a little 
puzzled at Miss Cairn's last speech.] Really, my good 
people, you have spent a lot of energy for nothing. I 
suppose my father-in-law, in his excitement, offered a 
reward to stop us, but you see that won't hold good* any 
longer. We were married just an hour ago. Congratula- 
tions, and not warrants, are due. 

[Mrs. Smith and Jake, in utter bewilderment, just 
gape at each other.] 

Miss Cairns. [Coldly, with curling lips.] Well, 
that's a new story to put over. [She turns back the lapel 
of her coat.] Do you see that star? Well, I know who 
you are. You are "Sleight-of-hand" Bankes, and your 
"wife" there is "Light-fingered Nell," and you are wanted 
for the Smallville Bank forgery. 

John and Mary. Forgery ! 

Mrs. Smith. [To Miss Cairns.] Ain't they the rob- 
bers what robbed Center Junction ? 

Miss Cairn. [With contempt.] Do you think I 
bother with robbers ? No, these are forgers. 

Jake. [Shambling off and nursing his arms that John 
had wrenched in the struggle.] It's robbers we're after — 
not forgers. 

John. [Angrily to Miss Cairns.] Forgers, you call 
us. Just let me get to a telegraph operator ! [He holds 
Mary in one arm and starts for the door.] 

Miss Cairns. [Screams to Mrs. Smith and Jake.] 
Hold them! Hold them ! [She grabs hold of John, who 
tries to zvard her off.] 

Jake. [Obstinately.] I ain't got nothing to do with 
forgers. 



24 IN THE TRENCHES "OVER THERE" 

Mrs. Smith. [Shrewdly.'] How much of the reward 
will you give us ? 

Miss Cairns. [Still struggling with John.] Half — 
no, I mean, I will give you five dollars apiece — 

Mrs. Smith. [Joyfully.] Five dollars apiece ! Come 
on, Jake! Come on! [She also gets hold of John.] 
Jake, come on ! 

Jake. Well, for five dollars, I will. [He, too, takes 
hold of John and Mary, who are having a hard time with 
their assailants. The door bursts open and Miss Keep 
comes running in. She carries a telegram in her hand.] 

Miss Keep. Why, John! Why, Mary! What does 
this mean? 

Mary. [Disentangling herself from the fracas and 
running to Miss Keep.] Oh, Lucy, tell them we're not 
robbers and forgers. 

Miss Keep. [As others stop in perplexity.] Forgers ! 
Why, they're not forgers ! They're elopers ! 

Miss Cairns. [Grimly.] It will take more than your 
word for me to believe that, young lady. You said you 
knew them, and I wouldn't be surprised if you were hired 
just for this ! 

Miss Keep. You're Miss Cairns, aren't you? 

Miss Cairns. That's my name. 

Miss Keep. [Handing her the telegram.] Then 
maybe this telegram, which the operator just handed me, 
may explain matters. 

Miss Cairns. [Rapidly reading the telegram.] 
"Sleight-of-hand" Bankes and "Light-fingered" Nell cap- 
tured. Come home. [In hollozv tone.] Well, evidently 
you are just elopers, then. I — I beg your pardon. 

Mary. [In heartfelt tone.] Oh, Lucy, you came just 
in the nick of time. 

[Miss Gray, from the side-lines, calls, "Toot-Toot."] 

Miss Keep. That's our train going. We'll have to run. 
[John and Mary and Miss Keep, follozvcd by Miss 
Cairns, all run for the door.] 

[Joyfully.] And I can get the story for the paper — 



IN THE TRENCHES "OVER THERE" 25 

John. You bet you can! 

[They all disappear.] 

Mrs. Smith. [Indignantly to Jake.] What'd she 
have to raise our hopes for, offerin' us five dollars 
apiece? 

[Miss Gray gives the signal and the soldiers quickly 
drop the curtains.] 

[Note. — Another specialty number may be introduced 
now, if it is desired to make the program longer. 

At the close of the program, the actors come out and the 
soldiers mix with them, laughing and congratulating them. 
Miss Burke passes the satchel of smokes and candies.] 

O'Toole. [Calls to Baker.] Say, Baker, find out 
what day and month and year it is, so we can mark this 
down right ! 

Miller. [To Miss Gray.] You will never know 
how much this laugh has meant to us ! 

Carson. [Looking at his watch.] I'm sorry, but that 
train of wounded may be here soon, and we must go. 

Miss Gray. Just a second, Lieutenant. Let us sing the 
national anthem first. 

All sing "The Star-Spangled Banner." 

CURTAIN. 



THE 

HEART OF A SHAMROCK 

A PLAY IN THREE ACTS 

By 
GEORGE M. ROSENER 



PRICE, 25 CENTS 



Acts I, II and III all have the same scene, the Sitting 
Room in Father 'Neil 's home, and the action occurs in 
the evening at about 7 o'clock, at about 11 o'clock, and 
again one hour later. The time is the present at Wild 
Cat, Colorado. The Cast of Characters includes Father 
O'Neil, the pastor; Bob, the sheriff; his brother, "The 
Shamrock"; Laddie, the youngest brother; Grizzly 
Adams, a cattleman ; May, an Irish rose ; Mrs. Donovan, 
the housekeeper; Joan, a ranchman's daughter, and 
Gad, a city waif. This part may be played either as a 
boy or a girl. 

This play was published two years ago and has met 
with great success wherever produced, by both profes- 
sionals and amateurs. It is easily put on and "acts 
itself." A fine money-making entertainment. 

Address orders to 

THE DRAMATIC PUBLISHING COMPANY 
CHICAGO, ILLINOIS 



BLUNDERING BILLY 

A FARCICAL COMEDY IN THREE ACTS 

By 
ANTHONY E. WILLS 

Author of "Barley's Ranch" "Her Gloves/' etc. 



PRICE, 25 CENTS 



The reception room of "The Strathmore, " a family 
hotel on the shores of San Francisco Bay, near Alameda, 
California, is the scene where the action of all three acts 
of this play takes place. Act I, Morning ; Act II, After- 
noon; Act III, Evening. Two hours are required for the 
presentation. The five male and three female characters 
are as follows: 

Ezra Tuttle, a rich mine owner. 

Billy Butler, always in trouble. 

Lieut. Griswold, from the Presidio Reservation. 

Sing Toy, a servant. 

Hank Dibble, an Old Salt. 

Dorothy Tuttle, Ezra's daughter. 

Clarissa Burnham, a guest at "The Strathmore." 

Woyo San, a Japanese girl. 

A popular comedy because it is lively and funny and 
full of action. "Blundering Billy" has been tried and 
found always a "winner." 

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CHICAGO, ILLINOIS 



THE DUST OF THE EARTH 

A DRAMA IN FOUR ACTS 

By 

KATHERINE KAVANAUGH 

Author of "The Professor of Love," "The Girl and the 
Outlaw," "Corinne of the Circus," etc. 



PRICE, 25 CENTS 



This Rural Drama plays two hours and there are six 
male and four female characters. There are one exterior 
and two interior scenes, all simple. Each character fur- 
nishes a good part; interesting plot wound into every 
line of the play; two charming love stories; the heroine 
and her story win the audience from the moment the 
curtain rises. Full of mystery, romance, pathos and fun. 



CAST OF CHARACTERS 

David Moore, of Maple Farm Cottage. 

Susan Moore, his wife. 

Elizabeth, their daughter. 

Jerry, their son. 

Rev. Dr. Templeton, a young divine. 

Miss Arabella, the village newspaper. 

John Ryder, the young master of The Maples. 

Wandering Tom, a mystery. 

Old Morse, his companion. 

Nell, "The dust of the earth." 

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MERCHANT OF VENICE 
UP-TO-DATE 

Farce Comedy in Five Acts 

By 

WILLIAM SHAKESPEARE 

Slightly revised and modernized by C. S. Miner, 
J. H. Emery, R. A. Moore and H. J. Spencer 



PRICE, POSTPAID, 25 CENTS 



Excruciatingly funny burlesque of Shakespeare's play, 
particularly adapted to the requirements of high schools 
and colleges. Characters, nine male, seven female. Plays 
about two hours. One interior and three exterior scenes. 
A very popular piece. The dialogue is bright and full 
of real wit. 



DRAMATIS PERSONAE 

The Duke of Venice. The Professor, an ex-ray 
Antonio, a Senior — Cap- photographer. 

tain of High School Policeman. 

Football Team. Portia, a rich heiress. 

Bassanio, his friend and Nerissa, her friend. 

suitor to Portia. Jessica, Shylock's ward. 

Gratiano, another friend. Miss Abbie S. Threedice, 
Shylock, a wealthy gam- a teacher. 

bier. Polly, Portia's maid, An- 
Tubal, his friend, and tonio's mother. 

Captain of the Belmont Mrs. Gobbo, Launcelot's 

Football Team. mother. 

Launcelot Gobbo, a ser- Football Players. 

vant to Shylock. 

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HER GLOVES 

A FARCE IN THREE ACTS 

By 
ANTHONY E. WILLS 

Author of "Blundering Billy/' "Burley's Ranch,' 9 etc, 

PRICE, 25 CENTS 



CAST OF CHARACTERS 

Walter Dillingham A dealer in real estate, Comedy lead 

Jefferson Buggles His father-in-law, Character 

Eobert Slocum A friend of the family, Juvenile 

Charley Brooks A neighbor, Comedy 

Jim Ryan A theatrical manager, Comedy 

Mrs. Ruggles Wife of Jefferson, Old woman 

Blanche Dillingham Wife of Walter, Lead 

Dora Ruggles , In love with Slocum, Ingenue 

Elizabeth Brooks Wife of Charley, Comedy 

Valeska Bijou A leading lady, Comedy 

The action of the farce takes place in the home of the Dilling- 
hams, New Rochelle, New York, during the month of May. 

ACT I 
A PAIR OF GLOVES 

(Afternoon) 

ACT II 

THEY ARE LOST 

(A few minutes later) 

ACT III 

THEY ARE FOUND AGAIN 

(Next morning) 

One interior scene for the three acts. Modern costumes. Plays 
an entire evening. Lively, full of complications, uproariously 
funny. Most admirable for repertoire and stock companies and 
amateurs. A sure success. 

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A ROSE O' PLYMOUTH 
TOWN 

A ROMANTIC COMEDY IN FOUR ACTS 

By 

BEULAH MARIE DIX 

and 

EVELYN GEENLEAF SUTHERLAND 



PRICE, BOUND IN CLOTH, $1.25 
BOUND IN PAPER COVER, 50 CENTS 



This comedy is dedicated to Miss Minnie Dupree, who 
first impersonated "Rose," the exquisite female leading 
part. There are four male and four female characters 
in the play, which takes an entire evening. The cos- 
tumes are of the period of 1622, in New England. 



SYNOPSIS 



Act I — The Kitchen in Captain Standish's house. An 
early August morning — Stolen Fruit. 

Act II — The Dooryard of Captain Standish's house. 
An afternoon in October — A Maid's Toys. 

Act III — Same as Act I. A night in March — The Red 
Light on the Snow. 

Act IV — Same as Act I. The next afternoon — The 
Better Man. 

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HICKS AT COLLEGE 

A Comedy in Three Acts 

By 

SARA PRESTON, AMY OLIVER AND RALPH E. DYAR 



PRICE, 25 CENTS 



Characters, twelve male, nine female. Plays about two 
hours. Costumes modern. Three easy interior scenes. 
A jolly, lively piece — full of comedy and action — well 
adapted to the needs of schools -and colleges and ama- 
teurs everywhere. 



CAST OF CHARACTERS 

Hiram Hicks The Braino Man 

Tom Horton Who writes advertisements 

Fritz Jordan Horton 's chum who plays basket ball 

Adam Biddicut Professor in Northern University 

Dean Smiley. Dean of the College of Arts in Northern University 

Percy Eobbins A recent arrival from "Deah Boston" 

Adolph Hopkins A lazy boy 

Bastian Briggs A dig 

Josh Anderson A basket ball enthusiast 

Charlie Padlet Eeporter for the ' ' Daily Shriek ' ' 

Peter The popular proprietor of ' ' The Pal ' * 

Walker Manager for the Braino Man 

June Grant ) Seniors, chums, and interested respectively in 
Polly Porter ) Horton and Jordan 

Claire Angeline Jc*tes A stage struck girl 

Susy Spriggins A freshman with a crush 

Daisy Armstrong An athletic girl 

Fluff Finley A f usser girl 

Flora Belle Delamartyr Waitress at ' ' The Pal ' ' 

Mrs. Cobb Housekeeper at l ' The Quarters ' ' 

Lily Maid at ' ' The Quarters ' * 

ACT I. Scene — The Palace of Sweets, familiarly known as ' ' The 
Pal," the meeting place of town and college. Time — Morn- 
ing, three days before the championship game. 

ACT II. Scene — The campus of Northern University. Time — 
Morning, the day of the game. 

ACT III. Scene — ' ' The Quarters, ' ' home of the six boys. Time 
— Evening, the jubilee after the game. 

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Hageman's Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The iN^ortance or" an effective make-up is becoming more appar* 
ent to the professional actor every year, but hitherto there ha« h«A» 
no book on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has now 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. Ihe book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. Genera! Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Fact 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wigf 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make* 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lipa, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. _ 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, tn« 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Beards, Moustaches, and Eyebrows, Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners, 
Politicians Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoea, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlera, 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniard*, 
Portuguese, South Americans, Scandinavians, Germans, Hollander* 
Hungarians, Ginsies, Russians, Turks, Arabs, Moors, Caffirs, Aby* 
sinians, Hindoo's, Malays, Chinese, Japanese, Clowns and Statttarf, 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



LIBRARY OF CONGRESS 



PLAYo 




017 401 282 9 



And Entertainment Books. 

TIjEING the largest theatrical booksellers in 
W" the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
fece powders, hair goods, and other "make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



